REMEDIATION
Writing + Sound + Remediation - How do they affect each other?
Remediation can be defined as "...artistic elements being converted into different mediums" (Barber), ultimately creating the ability to transform various languages, texts, and technologies existent in our culture into different forms. Through this practice, cultural revolutions can erupt, with new eras of music, writing, and digital works being contrived (these being only a few examples of the limitless opportunities it provides). Considering music specifically, songs are, in a sense, a remediation of text or audible elements, combined together to create the genius masterpieces that have defined various eras of time throughout humankind. Further, with the utilization of technology, remixology and "covers" of songs have familiarized themselves into the mass of music culture, going so far as to essentially blur the lines of song "authorship." However, the beauty of remediation lies in the ability to take a cultural artifact and refashion it to adapt to societal preferences outside of the original, assimilating the song into more communities. The ultimate impact remediation has in the development of human culture is fascinating and unique to observe.
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Regarding a specific music artifact, "La Vie en Rose" by Edith Piaf, the power of remediation is clearly exemplified in its existence. The hundreds of "covers" and remediations of the well-known tune have blurred the lines of authorship, illustrating the power of cultural preference and media distribution. Through the affordances that technology offers us, the original song was able to be recorded and distributed, where it gained massive attention and praise, especially during the time of its release in 1947. However, due to the algorithms of the internet and the progression of time, others' covers of the song following its release have collected mass attention as well, "(...no more than seven different versions…) [reaching]...the Billboard charts…[including] Tony Martin...Bing Crosby...and Louis Armstrong…" (Wikipedia). Technology has created a space where, in this case, the original author and creator of this prolific song is not always thought of when the work is considered - upon its mention, Edith Piaf may not come directly to mind for some. Because of the poignance of other remediations of the tune, individuals emotionally attached to these "covers" and "remixes" can likely be unaware of the original author, as the remediators created an intense identity within the song's recreation. However, does this undermine the value of the remediated artifacts, or simply illustrate the power of creative preference within individuals?
Consider this "remix of a remediation:" Soundcloud artist Matt Anthony created a remix of Louis Armstrong's timeless cover of "La Vie en Rose," and notes in the description: "full credit goes to Louis Armstrong for the brilliance put together to make the original 'La Vie En Rose'" (Anthony). Is it possible that Anthony is unaware of Edith's ownership of the song altogether?
The affordances remediation provides us can present some issues regarding copyright, ownership, and recognition of authorship of a musical or other textual piece. However, as noted in "The Ecstasy of Influence, A Plagiarism," ".....by [preventing remediation, original artists] make the world smaller, betraying in what seems...the primary motivation for participating in the world of culture in the first place: to make the world larger" (Lethem 5). Remediation creates a space where masterful works of eras present and past can be reimagined and connected more fully with varying cultures, allowing for the effective spreading of the message at hand. By increasing the mediums in which the message is conveyed, it is better distributed and ultimately consumed. Considering this, it's important to recognize the power of remediation and its ability to fully intertwine written, audible, and digital elements into pieces that will continue to live on in society.